Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.

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Tuesday, February 7, 2012

Fretwork, Bach's Goldberg Variations Arranged for a Consort of Viols

The sheer truth of the matter is that Johann Sebastian Bach's Goldberg Variations, like many of his other keyboard works, has such brilliant part writing that it readily lends itself to arrangement for different instrumental combinations. That is brought home forcibly with Richard Boothby's version for a consort of viols, performed movingly by the group Fretwork for I believe a 2-CD set (my download review copy is 90-minutes of wonderful Bach) on Harmonia Mundi. There have been versions of other Bach works for expanded instrumentation, his "Art of the Fugue" and "Musical Offering" come to mind as especially well done in previous years. This Fretwork recording earns a top position as one of the most distinctive of them all.

The special early music archaicism of the consort gives this music a radical new resonance, bringing out the parts in colorful pastels and throwing in relief the distinctive intertwining of part with part.

It convinces me that Bach's architectural keyboard counterpoint retains and even increases its brilliance if arranged for the right sort of instruments and played with expressive care, which is certainly the case here.

It is a joyous experience. Bach adepts and general music lovers will find this recording a sweet revelation I would think. I did.

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About the Blog

Grego Applegate Edwards's Classical-Modern Music Review blogsite covers recent releases or re-issues of recordings that feature classical and concert music, primarily of the 20th and 21st Centuries, but earlier music as well when warranted. All styles of relevance will be addressed from Late-Romantic and Neo-Romantic through High-Modern, Avant Garde and Post-Modern styles. Chamber music, orchestral, choral, operatic, and electronic forms will be considered as well as music that combines a classical element with one or more other stylistic elements. Earlier periods will get coverage when a release has something to say to us. Both established and unfamiliar composers will get attention. All content copyright 2007-17 by Grego Applegate Edwards.

About Me

I am a life-long writer, musician, composer and editor. I wrote for Cadence for many years, a periodical covering jazz and improv music. My combined Blogspot blogs (as listed in the links) now cover well over 3,000 recordings in review. It's been a labor of love. The music is chosen because I like it, for the most part, so you won't find a great deal of nastiness here. I have no affiliations and gain nothing from liking what I do, so that makes me somewhat impartial. I do happen to like a set of certain musics done well, so it's not everything released that gets coverage on these blogs. I have thirteen volumes of compositions available on amazon.com. Just type in "Grego Applegate Edwards" to find them. (But one is under "Gregory Applegate Edwards.") I went to music and higher education schools and got degrees. It changed my life and gave me the ability to think and write better. I've studied with master musicians, too. The benefits I gained from them are invaluable. I appreciate my readers. You are why I write these reviews. I hope the joy of music enriches your life like it does mine. Thank you. And thank you to all the artists that make it possible.